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The camera in Ernie Gehr's films acts as a fly on the wall, but this cinematic voyeur isn't usually interested in documenting people or their romantic assignations. Instead, the experimental filmmaker focuses on overlooked elements — urban cityscapes, the sides of buildings and the interplay of light — which are soberly observed from unusual angles and unexpected perspectives. Such 16mm films as Side/Walk/Shuttle (1991) and Serene Velocity (1970) are free of plot and any other pretense of storytelling and instead work as moody tone poems in which the only ostensible subject is the medium of film itself. Tonight, Gehr presents recent digital films including A Commuter's Life (What a Life!) and Creatures of the Night.

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